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Line 3825, etc. - Commentary Note (CN)

Commentary notes (CN):

1. SMALL CAPS Indicate editions. Notes for each commentator are divided into three parts:

In the 1st two lines of a record, when the name of the source text (the siglum) is printed in SMALL CAPS, the comment comes from an EDITION; when it is in normal font, it is derived from a book, article, ms. record or other source. We occasionally use small caps for ms. sources and for works related to editions. See bibliographies for complete information (in process).

2. How comments are related to predecessors' comments. In the second line of a record, a label "without attribution" indicates that a prior writer made the same or a similar point; such similarities do not usually indicate plagiarism because many writers do not, as a practice, indicate the sources of their glosses. We provide the designation ("standard") to indicate a gloss in common use. We use ≈ for "equivalent to" and = for "exactly alike."

3. Original comment. When the second line is blank after the writer's siglum, we are signaling that we have not seen that writer's gloss prior to that date. We welcome correction on this point.

4. Words from the play under discussion (lemmata). In the third line or lines of a record, the lemmata after the TLN (Through Line Number] are from Q2. When the difference between Q2 and the authors' lemma(ta) is significant, we include the writer's lemma(ta). When the gloss is for a whole line or lines, only the line number(s) appear. Through Line Numbers are numbers straight through a play and include stage directions. Most modern editions still use the system of starting line numbers afresh for every scene and do not assign line numbers to stage directions.

5. Bibliographic information. In the third line of the record, where we record the gloss, we provide concise bibliographic information, expanded in the bibliographies, several of which are in process.

6. References to other lines or other works. For a writer's reference to a passage elsewhere in Ham. we provide, in brackets, Through Line Numbers (TLN) from the Norton F1 (used by permission); we call these xref, i.e., cross references. We call references to Shakespearean plays other than Ham. “parallels” (//) and indicate Riverside act, scene and line number as well as TLN. We call references to non-Shakespearean works “analogues.”

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Notes for lines 2951-end ed. Hardin A. Aasand

For explanation of sigla, such as jen, see the editions bib.

3825 Hora. Neuer belieue it;	5.2.340

3826 I am more an anticke Romaine then a Dane,

3827 Heere’s yet some liquer left.

1753 blair

blair

3826 anticke] Blair (ed. 1753, Glossary): “a buffoon character in the old English farces, with a blacked face and a patch-work habit.”

1755 John

John

3826 anticke] Johnson (1755, Antick): “adj. [probably from antiquus, ancient, as things out of use appear old.] Old; ridiulously wild; buffoon in gesticulation.

‘What! dares the slave . . . solemnity? [Rom. a.s.? (0000)]

‘Of all our antick sights, and pageantry, Which English idiots run in crouds to see. Dryden

‘The prize was to be conferred upon the whistler, that could go through his tune withoutlaughing, though provoked by the antick postures of a merry Andrew, who was to play tricks.’ Addison. Spectator, No. 179.”

1790 mal

mal

3825-7 Malone (ed. 1790, 9:437): <p. 437> “Upon Laertes’s repentance for contriving the death of Hamlet, one cannot but feel some sentiments of pity for him; but who can see or read the death of the young prince without melting into tears and compassion? Horatio’s earnest desire to die with the prince, thus not to survive his friend, gives a stronger idea of his friendship for Hamlet in the few lines on that occasion, than many actions or expressions could possibly have done. And Hamlet’s begging him to draw his breath in this harsh world a little longer, to clear his reputation, and manifest his innocence, is very suitable to his virtuous character, and the honest regard that all men should have not to be misrepresented to posterity; that thay [sic] may not set a bad example, when in reality they have set a good one: which is the only motive that can, in reason, recommend the love of fame and glory.” </p. 437>

1793 v1793

v1793=mal

3825-7

1803 v1803

v1803=v1793

3825-7

1813 v 1813

v1813=v1803

3825-7

1818 Todd

Todd = John

3826 anticke] Todd (1818, antick):

1821 v1821

v1821=v1813

3825-7

1854 del2

del2

3826 I . . . Dane] Delius (ed. 1854) : “In dem Muthe zu sterben, gleicht Horatio den alten Römern, aus deren Geschichte Sh. solche Beispiele von Selbstmorden kannte.”[In the courage to die, Horatio [is] like the old Romans, from whose history Shakespeare knew such examples of suicide.]

1867 elze1

elze1: mCOL1 : Collier 1853b (see n. 3761-2)

3825 Elze (ed. 1857, 261): <p. 261>"MC fügt die Bühnenweisung bei: Snatches the cup, nach Collier Notes and Emendations 431, order nach Collier’s einbänd. Augs.: Taking the cup." [mCOL1 adds the stage direction, ’Snatches the cup,’ according to Collier’s Notes and Emendations 431, or according to Collier’s bound edition, ’Taking the cup.’]

1862 Cartwright

Cartwright

3826-9 Cartwright (1862,p. 82-3): <p. 82> “As Orestes praises his friend, so does Hamlet; the parallel passages are too similar to be accidental:— . . . . ‘Pylad. Should’st thou but hope I would survive thy death. Orest. O save thee for thy father, die not with me, Thou hast a country.’”

1864-68 c&mc

c&mc

3826 Clarke & Clarke (ed. 1864-68, rpt. 1874-78): “See Note 25, Act v, [JC].”

1869 tsch

tsch

3825 Tschischwitz (ed. 1869): “never believe it bezieht sich auf H.’s Aeusserung: thou liv’st.” [never believe it points to Hamlet’s utterance, thou liv’st.]

tsch

3826 anticke Romaine] Tschischwitz (ed. 1869): “Hor. deutet hier die Characterfestigkeit an, die ihm das Studium der humanistischen Wissenschaften und der Philosophie verliehen, die ihn lehrt, dass die Furcht vor dem Tode eine Absurdität sei.” [“Horatio alludes here to the characteristic which the study of humanistic learning and philosopy conferred to him, which taught him that the fear of death may be an absurdity.”]

1872 del4

del4 = del2

3825-7

1872 cln1

cln1

3826 Romaine] Clark & Wright (ed. 1872): “Compare [Ant. 4.15.87 (3102-03)]: ‘Let’s do it after the high Roman fashion, And make death proud to take us.’”

1876 Nares

Nares

3826 anticke] Nares (1876; 1905): “Antike . Ancient. ‘Whereon was graven in golden worke the stories all by row, And deeds of lords of antike fame a long discourse to know. Virgil, by Phaer., 1600.

“Antike. adj. Grotesque. ‘A foule deform’d, a brutish cursed crew, In body like to antike work devised Of monstrous shape, and of an ugly hew. Harr. Ariost, vi, 61.”

[Ed HLA: This definition appeared only in the revised and enlarged edition of Nares, not in the original 1822 edition. 1876 is the date used by Spevack for this enlarged edition.]

1877 v1877

v1877=

3826 Romaine] Horn (apud Furness, ed. 1877): “This allusion is characteristic; in the very first scene Hor. described vividly the omens that took place ‘ere the mightiest Julius fell.”

[Ed HLA: This is either 1823 or 1825 [Furness gives both dates] for one Franz Horn, Shakespeare’s Shauspiele Erläutert].

1877 neil

neil

3826 anticke Romaine] Neil (ed. 1877, Notes): “Compare in [JC] Titinius’ saying; ‘By your leave, gods—this is a Roman’s part; Come, Cassius’ sword, and find Titinius’ heart’ (Kills himself) —5.5.80 (2574-5). Almost all the great men of Roman history died a violent death, and in a large majority of cases it was self-inflicted. Decimus Brutus and Cicero were almost the only distinguished ‘antique’ Romans who consented to live after the hope of living to any good puropose was lost, without laying hands on themselves. A few of the most famous of these were Cato (Uticensis), Cneius Pompeius, Livius Drusus Clodianus, Metellus Scipio Petreius, Marcus Brutus, Caius Cassius, Quinctilius Vrus, Labeo, Dolabella, and Antony the triumvir. See note in [JC 5.5.80 ((2574-5)].”

1882 elze2

elze2

3826 Romaine] Elze (ed. 1882): North, Plutarch’s Lives (ed. 1595, p. 763 &c.) writes Romaines and Romains; B. Jonson (ed. 1616) ,Romanes, and Roman (adj., p. 739). In Lucrece (1594) the word is generally spelt Romaine (l. 51, 505, 1882, 1831); the spelling Romane (l. 301) is possibly owing to want of space.”

1885 macd

macd

3827 MacDonald (ed. 1885): “Here first we see plainly the love of Horatio for Hamlet; here first is Hamlet’s judgment of Horatio [1917] justified.”

1889 Barnett

Barnett

1930 Granville-Barker

Granville-Barker

3825-7- Granville-Barker (1930, rpt. 1946, 1: 201): “Till now he has responded to princely professions of affection with a ’your poor servant’ or a ’good, my lord.’ Now he asserts himself and his love by a fierce eloquence of deed, in which a man that even Hamlet has not known—and by no means the equable philosopher—stands suddenly revealed. [n. 1. There was a passing hint of him in the Horatio who reproved his Prince for these ’wild and whirling words’ 825]. But, the moment past, he lets the poisoned cup be wrested from him, and vows himself, silently and for the last time, to his friend’s service [See 3867-94].”

1931 crg1

crg1 ≈ standard (cites YALE)

3826 anticke Romaine]

1937 pen1a

pen1a : standard

3826 anticke Romaine]

1938 parc

parc

3826 anticke Romaine] Parrott (ed. 1938): “with reference to the old Roman fashion of suicide.”

1942 n&h

n&h

3826 Romaine] Neilson & Hill (ed. 1942): “Alluding to the Roman custom of suicide.”

1947 cln2

cln2

3826 anticke Romaine] Rylands (ed. 1947): “antique]] (and therefore ready to commit suicide.”

1951 alex

alex ≈ standard

3826 anticke Romaine]

1951 crg2

crg2 ≈ standard (cites Yale)

3826 anticke Romaine]

1954 sis

sis ≈ standard

3826 anticke Romaine]

1974 evns1

evns1 ≈ standard

3826 anticke Romaine]

1980 pen2

pen2 ≈ standard +

3826 anticke Romaine] Spencer (ed. 1980): “A Christian Dane would know that the Everlasting had . . . fixed|His canon ‘gainst self-slaughter ((1.2.131-2)). But Horatio’s Roman allusion is congruous with the classical education he showed at I.1.113-25. Here he temporarily loses the imperturbability of one who Fortune’s buffets and rewards has ta’en with equal thanks ((III.2.77-8)).”

1982 ard2

ard2

3826 anticke Romaine] Jenkins (ed. 1982): “i.e. one who prefers suicide to unworthy life. Cf. [JC 5.3.89 (2574-5); Ant. 4.14.887 (2933); Mac. 5.8.1 (2434-5].”

1984 chal

chal : standard

3826 anticke Romaine]

1985 cam4

cam4 ≈

3826 anticke Romaine] Edwards (ed. 1985): “i.e. for whom suicide might be noble rather than damnable. Cato is the person the Elizabethans would chiefly hve in mind in a context like this. Compare [JC] 5.1.100-7 (2443). When in his reply Hamlet calls death ‘felicity’ ((3833)) he does not think of the possible sufferings awaiting those who take their own lives, as he does in his great soliloquy in 3.1.”

1987 oxf4

oxf4 ≈ cam4 w/o attribution

3826 anticke Romaine]

1988 bev2

bev2: standard

3826 anticke Romaine]

1993 dent

dent ≈

3826 anticke Romaine] Andrews (ed. 1989): "Horatio wishes to depart in what a later Shakespearean character calls ’the high Roman Fashion.’ Horatio bears the name of an ancient Roman, so there is a special appropriateness to his words."

1998 OED

OED : Florio ; Serlio

3826 anticke] OED " antic (æntk), a. and sb. word.] A. adj 1. Arch. and Decorative Art. Grotesque, in composition or shape; grouped or figured with fantastic incongruity; bizarre. 1548 HALL Chron. Hen. VIII. an. 12 (R.) A fountayne of embowed woorke..ingrayled with anticke woorkes."

3826 anticke]" antique /æn ti[:]k, æntIk: see below/, a. and n. Forms: a. 6 antyk(e, auntyke, 6-7 antik(e, -ick(e, 6-8 antick. b. 6- antique. [ad. L. antiqu-us, antic-us, former, earlier, ancient, f. ante before (like posticus, f. post after); or perh. immed. f. Fr. antique (16th c. ad. L.,replacing OFr. antif). The modern ANTIC is a parallel form, which has always been distinct in sense in Eng., though both were spelt antik(e, antick(e in 16th c. For the present word the Fr. spelling antique has been concurrent from the first, and the only one since 1700. But the identity of pronunciation remained longer; Dr. Johnson says antique `was formerly pronounced according to English analogy, with the accent on the first syllable; but now after the French, with the accent on the last, at least in prose; the poets use it variously.’ In senses 1, 2 / æntIk/ is still used in poetry; the prosaic 4-7 are always /æn ti[:]k/; 3 usually so. See also ANTIC.] A. adj. 1. Belonging to former times, ancient, olden. (Now generally rhetorical = of the `good old times.’) a1541 R. COPLAND Galyen’s Terap. 2 C iij b, And that this reason and maner were antyke. 1595 SPENSER Sonn. lxxix, The famous warriors of the anticke"